Dvorak - Concerto for Cello and Orchestra,Symphonic Variations (2007)

Dvorak

Budapest Festival Orchestra, Pieter Wispelwey

Ivan Fischer

Dvorak's career was a worldwide success. He wrote his cello concerto in New York, it was rehearsed in Prague and premiered in London. Always full of tender feelings for his home country he lived an international life. He avoided speaking German though when possible and would never accept a job in Vienna. His cello concerto would become hugely popular all over the world and has occupied a significant place in the gallery of 19th century masterpieces. It took him four months to write but that reflects a freshness, a rise and shine attitude rather than the neurotic speed of city life. No teutonic bombast (Berlin), no Mahlerian pathos (Vienna), but healthy abundance of energy. Dreams but no Freud, profundity but no Angst. The orchestra is large and powerful, but this most symphonic of cello concertos doesnt become a David and Goliath freak show. The tuttis can be seen as the background for a journey. The landscapes, by night or day, under moon or sunlight are sometimes awesome but never hostile and occasionally the hero revels in a heart-warming village party. There is also room for reflection and intimacy; the solo cello is beautifully supported both in song and prayer. (...) Pieter Wispelwey

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Ivan Fischer

Ivan Fischer is founder and Music Director of the Budapest Festival Orchestra. The partnership between Iván Fischer and his Budapest Festival Orchestra has proved to be one of the greatest success stories in the past three decades of classical music. Intense international touring and a series of acclaimed recordings for Philips Classics, later for Channel Classics have contributed to Iván Fischer's reputation as one of the world's most visionary and successful orchestra leaders.

He has developed and introduced new types of concerts, "cocoa-concerts" for young children, "Midnight Music" concerts for students, "surprise" concerts where the programme is not announced, "one forint concerts" where he talks to the audience, open-air concerts in Budapest attracting tens of thousands of people. He has founded several festivals, including a summer festival in Budapest on baroque music and the Budapest Mahlerfest which is also a forum for commissioning and presenting new compositions.

As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, he leads every year two weeks of programs with the Royal Concertgebouw Orchestra, and appears with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.

Earlier music director of Kent Opera and Lyon Opera, Principal Conductor of National Symphony Orchestra in Washington DC, his numerous recordings have won several prestigious international prizes.

Ivan Fischer studied piano, violin, cello and composition in Budapest, continuing his education in Vienna in Professor Hans Swarowsky’s conducting class. Recently he has been also active as a composer: his works have been performed in the US, Holland, Hungary, Germany and Austria, and he staged successful opera performances.

Mr. Fischer is a founder of the Hungarian Mahler Society, and Patron of the British Kodály Academy. He received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services to help international cultural relations. The French Government named him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. He is honorary citizen of Budapest. In 2011 he received the Royal Philharmonic Award and the Dutch Ovatie prize. In 2013 he was awarded Honorary Membership of the Royal Academy of Music in London.

As of August 2011 Ivan Fischer is music director of the Konzerthaus Berlin and principal conductor of the Konzerthausorchester Berlin.

Budapest Festival Orchestra

Ivan Fischer is founder and Music Director of the Budapest Festival Orchestra. The partnership between Iván Fischer and his Budapest Festival Orchestra has proved to be one of the greatest success stories in the past three decades of classical music. Intense international touring and a series of acclaimed recordings for Philips Classics, later for Channel Classics have contributed to Iván Fischer's reputation as one of the world's most visionary and successful orchestra leaders.

He has developed and introduced new types of concerts, "Cocoa-Concerts” for young children, "Midnight Music” concerts for students, "Surprise” concerts where the programme is not announced, "One Forint Concerts” where he talks to the audience, open-air concerts in Budapest attracting tens of thousands of people. He has founded several festivals, including a summer festival in Budapest on baroque music and the Budapest Mahlerfest which is also a forum for commissioning and presenting new compositions.

As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, he leads every year two weeks of programs with the Royal Concertgebouw Orchestra, and appears with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.

Earlier music director of Kent Opera and Lyon Opera, Principal Conductor of National Symphony Orchestra in Washington DC, his numerous recordings have won several prestigious international prizes.

Ivan Fischer studied piano, violin, cello and composition in Budapest, continuing his education in Vienna in Professor Hans Swarowsky’s conducting class. Recently he has been also active as a composer: his works have been performed in the US, Holland, Hungary, Germany and Austria, and he staged successful opera performances.

Mr. Fischer is a founder of the Hungarian Mahler Society, and Patron of the British Kodály Academy. He received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services to help international cultural relations. The French Government named him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. He is honorary citizen of Budapest. In 2011 he received the Royal Philharmonic Award and the Dutch Ovatie prize. In 2013 he was awarded Honorary Membership of the Royal Academy of Music in London.

As of August 2011 Ivan Fischer is music director of the Konzerthaus Berlin and principal conductor of the Konzerthausorchester Berlin.

Pieter Wispelwey

Pieter was born in Haarlem in the Netherlands in 1962 and grew up with his two younger brothers in Santpoort, where his parents still live. At the age of 19 he moved to Amsterdam and has remained in the same 17th century house on the Noordermarkt ever since. Pieter's diverse musical personality is rooted in the training he received-firstly from regular exposure from a very early age to his father's amateur string quartet when they rehearsed at the Wispelwey home, to lessons with Dicky Boeke and Anner Bylsma in Amsterdam followed by studies with Paul Katz in the USA and William Pleeth in the UK. It was also Dicky Boeke who encouraged him to listen to as much music as possible but particularly sowed the seeds for his love of Renaissance music (Italian and English madrigalists!) and German Lied. These genres, particularly the performances of Dietrich Fischer Diskau, have been a constant source of inspiration for Pieter. In 1990 his first recording with Channel Classics, The Bach Cello Suites, was released to great acclaim and in 1992 he was the first cellist ever to receive the Netherlands Music Prize, which is endowed upon the most promising young musician in the Netherlands; thus his path was secured to the busy and varied career he has today.

Pieter has always been at home on the modern cello with metal and/or gut strings as he is on the baroque 4 string and 5 string cello. Therefore he covers a repertoire from JS Bach to Elliott Carter drawing on a palett of sounds and colours available from his range of instruments, string set-ups and bows. Having grown up in an age and country where hearing period instruments was very much the norm for concert-goers, Pieter naturally developed his conviction that, in the right conditions, much 18th and 19th century music sounds far better on gut strings than on metal. However he is not a purist in the sense that if conditions are less than ideal (no fortepiano, too big a hall, too hot, too humid, too dry acoustically etc.) then he is more than happy to pick up his modern cello with metal strings (which therefor is quite often the case).

Recitals have always played a major part in Pieter's concert diary. As a recitalist with piano, he has all the main repertoire at his disposal which is always ready for performance, often at very short notice. He is not, and has never been, the type of soloist who tours the world with one or two recital programmes and a couple of concertos per season. On the contrary, a typical week in Pieter's life (if one can be said to exist) could well include the Bach suites, with perhaps 2 different recital programmes, a couple of concerto appearances with a student masterclass thrown in for good measure! He has appeared as recitalist all over the world including the Concertgebouw (Amsterdam), Wigmore Hall (London), Chatelet (Paris), Teatro Colon (Buenos Aires) and Sydney Opera House. Future exciting engagements include Bach and Britten suites at the Lincoln Centre, New York and a return visit to the Edinburgh Festival.

Pieter has appeared with a variety of orchestras and ensembles both with and without conductors. Notable projects without conductors have been the touring and recording of the Schumann and Shostakovich cello concertos with the Australian Chamber Orchestra. This orchestra has, without doubt, provided for Pieter the happiest and most satisfying musical collaborations of his career to date, not least due to the genius of leader and musical director, Richard Tognetti. He has also appeared, with conductor, with the Rotterdam Philharmonic Orchestra, the BBC symphony orchestra, the Russian National Symphony, Camerata Academica Salzburg, Mahler Chamber Orchestra and the Deutsche Kammerphilharmonie Bremen to name but a few and has recorded with the Netherlands Philharmonic Orchestra and the Netherlands Radio Philharmonic. Future engagements with orchestras include the Halle, the Japan Philharmonic, the Leipzig Gewandhaus Orchestra under Herbert Blomstedt and the Orchestra of the Age of Enlightenment under Marc Minkowsky.

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Dvorak - Concerto for Cello and Orchestra,Symphonic Variations (2007)

Dvorak

Budapest Festival Orchestra, Pieter Wispelwey

    Rondo Magazin

kleinere Besetzung ist ehrer ein Vorteil als ein Nachteil, fr Solist und Konzert gleichermaen. So entsteht ein transparentes und farbiges Klangbild. Schwbische Zeitung Hre auch, wie perfekt der Dirigent Ivn Fischer mit seinem Budapest Festival Orchestra auf Wispelweys Intentionen eingeht, wie durch aufmerksames Aufeinandereingehen eine schlichtweg vollkommene Parterschaft zwischen allen Beteiligten zu Stande kommt. Wahrlich eine groe Aufnahme-entstanden als Livemitschnitt einer Auffhrung in Budapest.

    NRC

Niet alleen de kamermuziek, van de suites van BAch tot de sonates van Britten, is bij cellist Pieter Wispelwey in zeldzaam goede handen, ook het grote werk speelt hij op grootse wijze.

    Kwadratuur

Het Budapest Festival Orchestra volgt Dvorak moeiteloos in elke karakterwisseling, van uitgelaten tot bedrukt of intimistisch en van vrolijk en dansbaar tot tragisch. (...) (...) Wispelwey gaat in het cello concerto met plezier de dialoog aan met de solisten uit het orkest en versmelt als het ware met de houtblazers, zoals dat in het middendeel meermaals gebeurt. Hij vindt het karakter van de Boheemse muziek waarop Dvorak zich zo vaak baseerde moeiteloos terug in het derde deel dat zo een dansbaar elan meekrijgt. Dirigent, solist en muzikanten geven een uitzonderlijke interpretatie van Dvoraks muziek ten beste op deze plaat. Terwijl opnames van Dvoraks werken vaak op elkaar lijken krijgt hij op deze cd net dat ietsje extra mee dat deze interpretatie van het cello concerto boven de anderen doet uitsteken. De slanke klank van het orkest en de melodieuze, warmbloedige interpretatie van beide werken zijn om tientallen keren te beluisteren.

    Luister

ideale partners: Wispelwey en het Boedapest Festival Orkest!! Vlammend intensief tillen ze et elkaar de noten boven de partituur uit. Een bijzondere ervaring! Ook de Boedapesters verdienen op deze live opgenomen sacd applaus voor hun briljante, kleurrijke en in sfeer zeer afwisselende vertolking.

    Audio Muziek

Wat kan er nog voor nieuws worden verteld over het celloconcert van Dvorak en dan nog wel door Pieter Wispelwey? Heel veel, zo blijkt. Wispelwey wordt hoorbaar genspireerd door de dirigent die van bij het 1e thema niet alleen nieuwe kleuren en ritmes laat horen, maar vooral met een resoluut symfonische aanpak. De Morgen Pieter Wispelwey overtreft zichzelf in de live remake uit Boedapest. Natuurlijk beschikt hij met het Boedapest festival orkest en Ivn Fischer over een hoogwaardiger, inspirerender begeleiding dan destijds met het Nederlands filharmonisch onder Lawrence Renes. De extremen tussen opwindende, meeslepend momenten enerzijds en lyrisch overpeinzende anderzijds zijn verder opgerekt. Neem de grote vertraging voor het tweede thema en de prachtige passage in gis uit de doorwerking uit het eerste deel. Het passagewerk verloopt vrij impulsief en is soms sneller dan het basistempo; bravurapassages krijgen veel flair, het langzame deel heeft met de nodige portamenti iets quasi improviserends en de finale is zwierig, uitdagend met opnieuw een markant traag elegisch coda. Twijfel aan de technische beheersing, de fraaie toon en de juiste gevoelswaarden hoeft geen moment op te komen. Hooguit storen een paar eigengereide fraseringen en accenten van de solist; deze zouden bij herhaling voor wat irritatie kunnen zorgen. De 27 variaties op het thema 'Ik ben een fiedelaar' van de Symfonische variaties behoren tot de ten onrechte verwaarloosde werken van Dvork. Het is goed om ze hier als aanvulling te horen, zeker nu Fischers weergave zo goed zowel alle Tsjechische esprit als de Brahmsachtige implicaties naar voren brengt. Al met al ontstond zo een der mooiere, interessantere uitgaven.

    Hifi.nl

Twee coryfeen van het label Channel Classics ontmoeten elkaar bij een concert in Boedapest, december 2006. Dvork's composities zitten vol hartstocht. Dat vraagt ook om een dynamische, heftig bewogen manier van spelen. Daar vinden Wispelwey en het orkest elkaar perfect in. De cello ronkt, trekt aan het tempo en explodeert soms zowat. Fischer voelt alles perfect aan en laat orkest en solist met veel Slavisch temperament naadloos op elkaar aansluiten. Het transparante, contrastrijke orkestbeeld legt perfect Dvork's briljante orkestratie bloot. Licht en groots tegelijk. Dit is puur genieten. (...) (...) Geluidstechnicus Jared Sacks heeft niet getracht te verhullen dat het hier om de registratie van een live concert gaat. Hier en daar is een hoest te herkennen, maar storen doet het allerminst. De spanning van een live concert wordt behouden door niet alle onrechtmatigheden glad te strijken. De geluidskwaliteit is er niet minder perfect door.

    Elsevier

De Nederlandse cellist Pieter Wispelwey wordt nooit routineus. Met gedegen hartstocht speurt hij door zijn partituren, om iedere componist een eigen geluid te geven. Echt lekker dus om zo'n jongen een ijzeren repertoire als dat van Dvorak te laten oppoetsen. Toch is deze cd misschien meer nog zo briljant dankzij Ivan Fischer en zijn Budapest Festival Orchestra. Niet alleen kun je de orkestpartij van Dvoraks Celloconcert (1895) nergens zo nieuw en verrassend en kleurrijk - en ritmisch slim!- horen spelen. Als toegift krijg je ook nog eens een spetterende uitvoering van de Symfonische variaties (1871) van dezelfde componist. En zo wordt Dvork de werkelijke kampioen van deze productie. De held van de diepere lol. Halleluja!

    Parool

Het orkest volgt Wispelwey als een schaduw in al zijn lyrische ontboezemingen. Met name het langzame deel is door de uitzonderlijke proeve van organisch samenspel van een grote schoonheid. Fascinerend is ook de vaststelling dat de cellist zich als muzikant blijft ontwikkelen. Op deze cd speelt hij dieper dan ooit

    Image Hifi

Selbst wenn man sich vor Augen hlt, das es von Dvorak's h-Moll-Konzert inzwischen eine kaum berschaubare Anzahl von aufnahmen gibt, ist das hier sehr hrenswert. Und damit sich der kauf der Schiebe auch lohnt, gibt es noch eine konzentrierte Darbietung der 'Sinfonischen Variationen' fr Orchester op. 78, die noch einmal besttigt, mit welch hoher Qualitt das Orchester hier musiziert. Sehr hrenswert. Klassik.com (...) Eine editorisch wertvolle Beigabe.

    Classique Info

Le jeu de Wispelwey n’en ressort que plus encore, pour notre plus grand bonheur. Car Pieter Wispelwey est vraiment un artiste d’exception. Wispelwey et Fischer étaient faits pour s’entendre car le jeu du violoncelliste est lui aussi tout en précaution, avec un toucher fin, aérien. On se laisse volontiers bercer par ce chant si beau de l’instrument et par le vibrato très travaillé. Wispelwey libéré de la contrainte orchestrale par Fischer peut donner libre court à son expression et cela s’entend.

    Absolute Sound

Wispelwey is a profoundly lyrical player, and the Dvorak performance is loaded with delicate, confessional moments. This is an ingratiating reading where technical display takes a back seat to purely musical impulses. Interpretively, the cellist and Ivan Fischer are of one mind, the conductor clearly savouring orchestral passag s."

    Strings

() this is a glorious performance without undue emotional excesses, with wonderful cello tone, and balanced naturally with the orchestra () () In addition, the Budapest Orchestra is a first-rate group and very well recorded with an enveloping but not overwhelming surround field.(...) Wispelwey is more than up for the challenge."

    Classics Today France

Pieter Wispelwey est vraiment un artiste d'exception. Wispelwey et Fischer taient faits pour s'entendre car le jeu du violoncelliste et lui aussi en prcaution avec un toucher fin, arien. On se laisse volontiers bercer par ce chant si beau de l'instrument et pas le vibrato trs travaill.

    Guardian

Wispelwey's playing is at once supremely lyrical and furiously intense, while Fischer's conducting combines great finesse with high Romantic grandeur. Its companion piece, unusually, is the Symphonic Variations for Orchestra, dating from 1877 and taking its theme from one of Dvorak's own part songs for male voices. It is pivotal stuff that sometimes glances back to Smetana and sometimes flashes forward to Janacek, with its occasional moments of harmonic strangeness. It's also a tour de force for the Budapest Festival Orchestra, who play it to perfection.

    Philadelphia Inquier

(...) there's charisma in every bar and such profundity that it allows you to relive the concerto anew, no matter how long it has been part of your life. Channel Classics delivers its typically roomy, state of the art (...)

    The Guardian

His playing is at once supremely lyrical and furiously intense, while Fischer's conducting combines great finesse with high Romantic grandeur.

    Sunday Times

Wispelwey, abetted by Fischer and his superb orchestra, takes a rhapsodic view of this glorious work, unafraid of a flexible approach to tempi that brings out the great expressive contrasts of the music.

    Gramophone

Dutch firm Channel Classics has been stepping in where major internationals are being cautious - recording the central repertoire. Here we have an outstanding version of Dvork's Cello Concerto, one to rival any version in the catalogue and imaginatively coupled with the much earlier Symphonic Variations. Pieter Wispeiwey crowns his previous releases in this electrifying live recording, brilliantly accompanied by the Budapest Festival Orchestra under Ivan Fischer. An outstanding disc.

    Playback Magazine

This is an ingratiating reading where technical display takes a back seat to purely musical impulses. (...) the cellist and Ivn Fischer are one mind (...) Fischer provides a sense of an organism developing from a single seed (...) the recording is spacious and open.

    Classics Today

Wispelwey in any case is such an intelligent artist with such a beautiful tone that he's always a pleasure to listen to, and here he achieves a rapt intensity in the closing epilog that's quite special (...) Both Fischer and the orchestra are in top form in the Symphonic Variations. (...) this is a very distinguished Dvorak CD, very warmly and realistically recorded in all formats.

    International Record Review

Wispelwey's deeply poetic, intimate responses have one hanging on to his every note. (...) the beguiling glow of the Budapest players at their most resplendent and heartfelt.

    Classic FM

Ivan Fischer's vivid interpretations, in close partnership with his Budapest Festival Orchestra, produce consistently stunning results, represented here in a glittering and dramatic performance of Dvorak's Symphonic Variations for Orchestra.

    Audiophile Audition

his is a glorious performance without undue emotional excesses, with wonderful tone, and balanced naturally with the orchestra. Multichannel disc of the month

    BBC Music Magazine -

He is splendid in the cadenza-like gestures at the entry of soloists in the first movement (...) this is a modern reading which stands very high in the catalogue. Well recorded and coupled with a splendid performance of Symphonic Variations, this issue is a winner from many points of view. Performance **** Sound**** BBC Music Magazine

Dvorak - Concerto for Cello and Orchestra,Symphonic Variations (2007)

Dvorak

Budapest Festival Orchestra, Pieter Wispelwey

Cables:Van den Hul
Digita Converters::Meitner DSD AD/DA converters
Mastering Engineer:Jared Sacks
Mastering Equipment:B+W 803 diamond series
Microphones:Bruel & Kjaer, Schoeps
Mixing Board:Rens Heijnis custom design
Producer:Hein Dekker, Pieter Wispelwey
Recording Engineer:

Hein Dekker, Jared Sacks

Recording Location:Budapest Hungary
Recording Software:Pyramix
Recording Type & Bit Rate:DSD64
Speakers:Audiolab, Holland

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25807: Dvorak - Concerto for Cello and Orchestra,Symphonic Variations
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Tracks
1.
Concerto for Cello and Orchestra in b minor op.104 - Allegro
Dvorak
00:15:07   Select quality & channels above
2.
Concerto for Cello and Orchestra in b minor op.104 - Adiago Ma Non Troppo
Dvorak
00:11:47   Select quality & channels above
3.
Concerto for Cello and Orchestra in b minor op.104 - Finale, Allegro Moderato
Dvorak
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4.
Symphonic Variations for Orchestra op.78
Dvorak
00:22:22   Select quality & channels above

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